卢伟旋的艺术探索：创作语境中的“悬而未决”

卢伟旋

艺术家、策展人，生活工作于深圳

2024深圳市五一劳动奖章获得者

中国美术家协会会员、二级美术师

中国文联青年文艺创作扶持计划项目获得者

北京当代中国写意油画研究院特约创作员

广州国家青苗画家培育计划画家

卢伟旋的艺术探索：创作语境中的“悬而未决”

Lu Weixuan’s Artistic Exploration: The “Unresolvedin the Air” within the Creative Context

文/高楠楠

By Gao Nannan

与艺术家卢伟旋相识数载，作为朋友和一个旁观者，能更真切的观察到他近年的创作状态。对于他的创作热情，由衷的感到欣喜与感动。作为一名青年艺术家，他在当代语境下进行持续性的创作实践和探索，构建了鲜明的作品面貌和艺术特质。如何定义他的创作方式的独特性，斟酌许久，“悬而未决”一词，我认为是恰当的。

Having known the artist Lu Weixuan for several years, both as a friend and an observer, I have had the privilege of witnessing the evolving state of his artistic practice at close range. I am genuinely moved and inspired by his passion for creation. As a young artist, he has continuously engaged in creative practice and exploration within the contemporary context, developing a distinctive visual language and artistic identity. After much deliberation on how best to define the unique quality of his creative approach, I find that the term “Unresolved in the Air” is especially apt.

卢伟旋《秘境之一》 90×120cm 布面油画 2015

“悬而未决”一词出自孙中山先生《救国之急务》文中，意指未解决或待解决的问题。以此意味描述卢伟旋创作过程的“不确定性”，恒久处在“生成”中，或前进、或后退的状态，很是契合。艺术的独特性在于其不可预见的未来性，而这种未来性正是从当下的不完全性中涌现出来的。卢伟旋的作品，正是在这种“未来性”与“悬而未决”的状态中不断生长，形成了一种对现代都市社会、历史以及自我内心世界的纪实回应与反观。20世纪美国艺术理论家克莱门特·格林博格在《自制美学》一书中对现代主义的反思也有类似的观点，他认为“未完成性”恰恰是艺术生命力所在。这一观念也引申出笔者欲探究卢伟旋创作中“悬而未决”独特性的缘由。

The phrase “Unresolved in the Air” originates from Dr. Sun Yat-sen’s On the Urgency of National Salvation, where it refers to issues that remain unsolved or pending. In Lu Weixuan’s creative process, this sense of indeterminacy—of being perpetually “in the making,” oscillating between progress and retreat—is particularly resonant. The uniqueness of art lies in its inherent unpredictability, and this futurity emerges precisely from its current state of incompleteness. It is within this condition of “Future Potential” and “Unresolved in the Air” that Lu Weixuan’s work continuously evolves, offering a documentary-like response and self-reflection on modern urban society, history, and the inner world of the self. Clement Greenberg, a prominent twentieth-century American art theorist, expressed a similar idea in his book Homemade Aesthetics, suggesting that it is precisely the sense of incompletion that endows art with its vitality. This notion also forms the basis for my inquiry into the unique “Unresolved in the Air” quality that characterizes Lu Weixuan’s artistic practice.

卢伟旋《有光的地方》449×147cm 综合材料 2024

卢伟旋《与物观物系列》尺寸可变 综合材料绘画 2020-2025

“悬而未决”首先体现在他的艺术风格中。卢伟旋的绘画作品常以不规则的几何方块为基本单位，通过色彩的层叠与形状的交错，营造出一种视觉上的不确定感。《有光的地方》便是这一特质的系列代表作，交错的色块与几何形态反映了内心的极致思考与丰富性。画面中的元素并非明确的符号，而是在不断变化中形成一种未定的状态，仿佛所有构成元素都在“悬而未决”的时刻被唤醒与重构。这与立体主义、抽象表现主义的艺术家如毕加索和波洛克相似，他们通过解构传统绘画的稳定性，探索动态与多重视角的表达。卢伟旋在此基础上，扩展了这类概念，不局限于形式的实验，也让情感和思想成为作品的核心，使每一幅看似“悬而未决”的作品都成为开放的叙事空间，呈现出个体经验与社会环境之间具有张力的艺术。

The notion of the “Unresolved in the Air” first manifests itself in Lu Weixuan’s artistic style. His paintings often employ irregular geometric blocks as fundamental units, building up a sense of visual indeterminacy through layers of color and the interplay of forms. Where There Is Light stands as a representative work in this vein: interwoven patches of color and geometric configurations reflect an intense inner contemplation and complexity. The elements on the canvas are not fixed symbols, but rather exist in a perpetual state of becoming—constantly shifting, as though every component is being awakened and reassembled in a moment of uncertainty. This approach resonates with artists from Cubism and Abstract Expressionism, such as Picasso and Pollock, who deconstructed the stability of traditional painting to explore dynamism and multiple perspectives. Expanding on these concepts, Lu Weixuan not only experiments with formal qualities, but also brings emotion and thought to the very core of his practice, allowing each seemingly “Unresolved in the Air” work to serve as an open-ended narrative space—art that embodies the tension between individual experience and the surrounding social environment.

卢伟旋《记得的是唰唰的雨声》150×150cm 综合材料绘画 2024

“悬而未决”同样体现在他创作的持续性和反复推敲上。卢伟旋有一句口头禅：“还没画完”、“还在画”。尽管已经是画了2年的作品，每一笔、每一个细节，仿佛都可以覆盖、叠加并完善，只有这种游离的反复，才更加贴切的传达出内心的真实情感，得以构建自己所追求的自由语境。费孝通先生在《乡土中国》一书中提出：“语言和文字亦或是图像只是传情达意的一种工具却并非唯一的工具。而这工具本身是有缺陷的，能传的情能达的意是有限的”。[1] 卢伟旋去创作一件作品是因为他有话要说，而他所想说的话很难通过语言，文字或是图像准确的传达出来。他通过作品去说出他想说的话，去传情达意。这需要作品能准确的传达出内心最真实的状态。然而这种状态却不是固定不变的，是有阶段性的。因此他的作品总处于未完成的状态，是动态的，是在不断生长的。通过缓慢的创作过程，卢伟旋或许在尝试回应生活中的不确定性与复杂性，在反复调整中发现更多艺术可能。

The “Unresolved in the Air” also finds expression in the sustained and iterative nature of his creative process. Lu Weixuan is fond of saying, “It’s not finished yet,” or “I’m still working on it.” Even for works that have taken two years to complete, every brushstroke and every detail appears open to revision, layering, and refinement. It is precisely through this ongoing, exploratory process that he most authentically communicates his inner feelings, constructing a personal context of creative freedom. As Fei Xiaotong noted in From the Soil: The Foundations of Chinese Society, “Language, words, or images are but one set of tools for conveying meaning and emotion, and not the only tools. These tools themselves are flawed, and what they can express or convey is inherently limited.”[1] Lu Weixuan creates because he has something to say—yet what he wishes to express cannot be fully or precisely articulated through language, text, or even imagery. He turns to his work to give voice to his ideas and emotions, seeking to communicate the truest state of his inner world. However, this state is never static; it is inherently transitional. As a result, his works remain perpetually “unfinished,” dynamic, and in a constant state of evolution. Through this slow process, Lu Weixuan perhaps seeks to address the uncertainties and complexities of life itself, discovering new artistic possibilities through continual adjustment and reflection.

卢伟旋《家的地方》 37×26.5cm 纸本水彩 2024

左：卢伟旋《绿色空间》26.5×38.5 纸本水彩 2024

中：卢伟旋《远处泛着光的影子》38×53cm 纸本水彩 2024

右：卢伟旋《散落的思绪》26.5×38.5 纸本水彩 2024

左： 卢伟旋《物理的架构》26 × 37cm 纸本水彩 2024

中：卢伟旋《海边吹来的风》38×53cm 纸本水彩 2024

右：卢伟旋《烂漫的事》26.5×38.5cm 纸本水彩 2024

卢伟旋的“悬而未决”不仅是创作状态的显现，它更反映其对生活、历史与个体境况的哲学思考。作为八零后的青年艺术家，不再满足于精彩画面获取单纯的视觉体验，而更加注重自我的观念表达。在信息爆炸的今天，所能获取的资讯让其视野更为开阔，从西方艺术脉络里溯源求真，又倾向于东方哲学传统体系的回归。《秘境之一》这件作品就是典型的东方哲学向内的精神求索与浪漫东方的诗意表达，与西方传统对外的理性探寻的结合。在东方思辨土壤里生根，于西方方法论体系上开花，他期冀用这种方式让作品成为对社会环境与自我探寻的隐喻——缓慢与反复的过程中寻找动态的平衡与自我，展现对个体与城市社会空间关系的深刻理解。

Lu Weixuan’s sense of the “Unresolved in the Air” is not only an expression of his creative state; it also reflects his philosophical inquiry into life, history, and the conditions of the individual. As a young artist born in the 1980s, he is no longer content with merely producing visually compelling works for the sake of pure visual experience; instead, he is increasingly committed to expressing his own conceptual perspectives. In today’s age of information overload, the vast array of resources at his disposal has broadened his vision, allowing him to trace the origins of truth within Western artistic trajectories while simultaneously gravitating toward a return to the traditions of Eastern philosophy. His work Secret Realm I epitomizes this inward spiritual quest rooted in Eastern philosophical thought, as well as a poetic expression of Eastern romanticism—intertwined with the outward rational explorations of Western traditions. Taking root in the fertile soil of Eastern dialectics and blossoming through the methodologies of the West, Lu Weixuan aspires to make his art a metaphor for both social realities and self-exploration—finding a dynamic equilibrium and a sense of self through slow, iterative processes, and revealing a profound understanding of the relationship between the individual and the urban social space.

左：卢伟旋《桌面上的竞技场》60×50cm 布面丙烯 2020

中：卢伟旋《岁月痕迹上的窗户》60×50cm 布面丙烯 2019

右：卢伟旋《独处时刻》60×50cm 布面丙烯 2020

“悬而未决”是一种既有状态和期望，并不能被其风格化标签所禁锢，更应在创作星图中开拓更多未知象限。勤奋如他，那些固化的画面语汇与符号，不该是束缚灵感的桎梏，反而是“变与不变”的决断。愿卢伟旋以生长的姿态游弋于艺术旷野，保持肆意生长的创造力，在不断破界的探索中自我超越，绽放艺术的多元可能和想象。

The “Unresolved in the Air” is at once a state and an aspiration. It should not be confined by stylistic labels, but instead serve as a point of departure for venturing into uncharted artistic territories. For an artist as diligent as Lu Weixuan, the fixed visual vocabulary and established symbols in his paintings should not become shackles for inspiration, but rather conscious choices in the interplay between change and permanence. May Lu Weixuan, with the posture of perpetual growth, roam freely across the vast expanse of art, maintaining his uninhibited creative energy, continually transcending himself through ongoing boundary-breaking exploration, and unleashing ever more possibilities and imaginative dimensions in art.

左：卢伟旋《有光的地方NO.21》 40×30cm 布面丙烯 2024

右：卢伟旋《有光的地方NO.20》 40×30cm 布面丙烯 2024

卢伟旋《造景系列》尺寸可变 综合材料绘画 2024

卢伟旋《霓裳》150×180cm 布面油画 2018

注释

[1]费孝通《乡土中国》北京大学出版社 2012年10月

参考文献：

1、黄彦编《孙文选集》广州广东人民出版社 2006年11月

2、克莱门特·格林博格《自制美学》重庆大学出版社 2017年5月

3、晨朋《西方现代艺术流派书系：未来派》人民美术出版社 2000年12月

4、巫鸿《作品与展场 巫鸿论中国当代艺术》岭南美术出版社 2005年12月

5、费孝通《乡土中国》北京大学出版社 2012年10月

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